“What arranges here the house is the self-sufficiency that allows the sky and the land, the gods and the mortal ones to form the only unit with the things”.1
During the decade of 1930, in full process of consolidation of the modern movement, the transformation of the plastic quality of the object of a part of the architectural European production, it was a result of the interest of some architects for the vernacular architecture.
The notion of site and the integration of the work with his environment, which up to this then was turning out to be indifferent, start forming a part of the aims of many architects of the first and second generation, praising an exclusive sensibility for the place. This of integration worry that also dominates Adalberto Libera’s will, does appearance during the design of the house for the writer Curzio Malaparte.
Soldier in the first world war, Malaparte was imprisoned by Mussolini’s regime in Lipari’s island, and to the liberated being it looks for a space of quiet where to reside after the long passed exile. For it he has an area located in the promontory I gave Boss Massullo, carrying geography of a delicious beauty, that it offers him to It Liberates an exceptional circumstance to investigate the relation between the architecture and his environment.
The transcendental act of Liberates and Malaparte consists of establishing an agreement of reciprocity with the nature, which reinterprets the condition of the site to promote a new relation between the man and the natural environment. The architectural attributes for this conciliation come from a look to the classic antiquity, where there is evoked the rite of the tradition of the Greek world, happening a plane that urbanizes the area, it conceals the functions of the domestic life, and subdues the enclave as a scenic bottom, arranging an exercise that makes concrete a new valuation.
To this respect, the house turns out to be an artificial prolongation of the rock, and as such, rises monolithic, re-dressed in a red stucco without any type of meetings. For Francesco Venezia, these events sublimate the value of the house:
“In this total nonchalance of the top space towards the underlying residence the key resides to understand the house. Acid and blunt externally, he resigns functions and ephemeral signs. It liberates, connects, dominates. Artificial prolongation of the enclave, expressive form of an act of primary accession. Touchstone, since “midi le juste” that separates two moments and measures the cyclical alternations. Nominal place and for it place of the recollection.” 2
To reach the housing one must travel a path that furrows the mountainous crags. The first contact with the house is the singular stairs that evokes the nearby Chiesa dell’Annunziata and the quality taken the degree as the perron of the Roman Capitol designed by Michael Ángel. His trapezoidal form with the minor side in the base exaggerates the royal dimension of the stairs and does of the ascent the moment of the event. The visitor is incorporated in a dynamic way, founding an uncertainty that devela on having finished the climbing, where a curved wall forces it to move to perceive the landscape.
In this event, the spectator finds the absolute control of the horizon. The created surface allows a dominant relation with the landscape and hierático encourages the ideal conformity with the natural world, a nearest representation to that to the domestic thing.
The exterior does not reveal by no means what happens inside the house. Unlike the stairs that he leads to the terrace, the access is modest and not organized into a hierarchy. A small door allows to accede to the room of being, solved in a way independent from the rest of the program. The room does not reveal any singular, alone event proposes a place of rest, with the nature placed in strategically ready large windows. The rest of the areas of the program are incrusted in the rock, rooms perforated for small vain with lighting in order that in the exterior the stucco prevails terracotta that re-dresses the wall of stone.
The relation between Liberates and Malaparte had an abrupt end and the owner realized most of the work with the help of local builders. Nevertheless, Adalberto Libera’s contribution and Curzio Malaparte’s will combined to compose the character gestual atypical of the housing.
The house does not impose any condition on the site; it emerges of the stone, fuses and despliega on the rock without damaging the image of the nature. He proposes a shared will that allows to unite both landscapes in a new enriched scene.
The idea attacks the rock to introduce in her his architecture, and in the same operation, constructs a territory where to contemplate the attractive beauty of an infinite environment.
Marcelo Gardinetti. Architect
La Plata, Argentina. May 2015
1 HEIDEGGER, citado por L. McDowell en Genero, Identidad y Lugar, Ediciones Cátedra, Madrid, 2000, pp. 111 y 112.
2 Francesco Venezia, Casa Malaparte, pag. 17
There is not known the author of the photographies, which are in free traffic in the network.